CRAFT VFX SUPERVISORS


POST & VFX


super stars


I always try to find as much practical reference film and photography as I can that relates to the subject that we’re concerned with. And, if that if that doesn’t exist, then I’ll go and film stuff that is good reference for what we want to do - like a simple version of something or a miniature or actually going to a place and to gather photographic reference.


Working with Chris Nolan specifically, we don’t go into the shoot with a plan for every specific shot. Our plan is to deal with whatever happens and assess the situation on the ground on the day, and make sure that we’re covered for anything that we might need to deal with. And in that case, the plan really is about capturing photographic data for all the locations, the vehicles, the people so that we can build CG versions of anything we need to do later if it turns out that’s required.


Ideally I encourage directors to send shot selects as soon as they have them to visual effects to block out as quickly and roughly as possible. And we send it back to them super quick, super rough so then they can cut


that back into the edit. And then that informs the edit itself, because now it’s got the object in there that was missing, or an environment that was not there. And I’m super keen on encouraging directors to have as many iterations of that really quick, cheap comp level as possible so they can change it as much as they need to when it’s only taking one person half a day to do a shot instead of 100 people two weeks. It’s vital that we encourage that process to happen to save having to redo finished shots.


We all come from different backgrounds and we all cope by getting help in the areas where we’re not as strong. No one can do everything themselves or know everything about everything. But the one thing that I think is vital is we all have to have that ability to communicate.


You’ve got to be able to come into the role without a predetermined idea of how you think things should be done. It’s very much about being a sponge at the beginning, consuming what this particular director in this particular film needs because that will


vary dramatically, depending on the person and the film. And then being able to translate that to people on the ground who are actually doing the work and then filtering what comes out from them to make sure that it matches with what the film and director wants and needs.


It’s very much about being a translator and being able to present ideas succinctly and clearly, because a lot of the time directors don’t have a lot of time. They can’t sit and hear someone waffling on for hours. You’ve got to put yourself in their seat and know what you need to show them to get the idea across quickly, for them to understand and have all the information they need.


Autumn 2021 televisual.com 35


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